Recent archaeological breakthroughs in London have illuminated the artistry of the Roman era, particularly through the recent recovery of a massive collection of wall plaster that had remained concealed for 1,800 years. According to a press release from the Museum of London Archaeology (MOLA), this remarkable find is the largest collection of Roman painted plaster ever discovered in the city. Expert Han Li, a Senior Building Material Specialist at MOLA, undertook the arduous task of reconstructing the shattered pieces, which were discovered discarded in a large pit. The painstaking process lasted three months, during which Li carefully assembled thousands of fragments, piecing together the mosaic that once adorned a high-status Roman building in Southwark.
This ancient structure, significant in its own right, was demolished prior to 200 AD, but the frescoes it housed still hold substantial cultural and historical value. MOLA described how these vibrant artworks once brightened around 20 internal walls in the early Roman building, dating back to between AD 43 and 150. Bringing the artwork to life, the reconstruction of the fresco allows us to glimpse the opulence and sophistication that characterized Roman domestic decoration. The artisanship exhibited in these pieces not only speaks volumes of the aesthetic preferences of the time but also illustrates the wealth and status of its owner, intended to impress visitors and signify social standing.
Among the artwork found were decorative yellow panel designs interspersed with black intervals, featuring intricate illustrations of birds, fruit, flowers, and musical instruments such as lyres. MOLA highlighted the rarity of these yellow panels, noting that while decorative panels were relatively common in Roman times, those featuring such vibrant yellow hues were identified at only a handful of sites across Britain. The unique characteristics of this find provide crucial insights into Roman decorative practices and the regional variations that existed, further enriching our understanding of the cultural landscape of the time.
In a poignant twist, the fragments bore remnants of an artist’s signature, though the identity of the painter has sadly been lost to history. Framed within a decorative tablet commonly used for signing artwork in the Roman world, the signature shows the Latin word ‘FECIT,’ meaning ‘has made this.’ The fragment is unfortunately damaged right where the painter’s name would have appeared, leaving an enduring mystery. Such remnants not only lend an artistic dimension to the discovery but also serve as a testament to the individual skill and creativity that characterized Roman artwork.
Furthermore, like many archaeological discoveries, the mosaic included graffiti from its time, shedding light on the daily lives and thoughts of its users. Among these was a depiction of a crying woman with a hairstyle typical of the Flavian period, alongside inscriptions in the Greek alphabet. MOLA noted that while examples of such writing exist in Italy, this particular piece is the only known instance of its kind from Roman Britain, exemplifying the intercultural exchanges and practices of the era. The graffiti found within the ruins adds depth to our historical narrative, illustrating the human aspects intertwined with monumental statuary and decorative works.
Archaeologist Han Li expressed profound excitement and apprehension during the assembly process, likening it to “the world’s most difficult jigsaw puzzle.” This unique undertaking revealed not just the visual beauty of the frescoes but also a connection to the lives of those who inhabited Roman Britain, a society that thrived for nearly four centuries before beginning its withdrawal around 410 A.D. The discovery emphasizes the enduring legacy of Roman influence in Britain, with ongoing excavations consistently uncovering their cultural remnants. Other recent finds, such as an eight-sided ring and a Roman grave adorned with gypsum, further attest to the historical richness beneath the modern landscape, providing an ever-expanding narrative of Britain’s ancient past.
